Theater review: The location's the thing in 'Macbeth at Fort Point'

We Players' "Macbeth at Fort Point" has three main things going for it: location, location, location. The company specializes in site-specific, immersive stagings of classic works from Shakespeare to Greek epics, in partnership with the National Park Service. Last year's "The Odyssey on Angel Island" was an all-day affair trekking around the island in search of Odysseus, with scenes loosely inspired by Homer's "Odyssey" taking place at various picturesque sites along the way.

A revival of a 2008 show with a mostly new cast, this production of "Macbeth" hews closer to the source material, with William Shakespeare's tragedy staged more or less intact. But there's a lot of hiking involved in this one too; the action takes place all over the historic Civil War-era fort at the foot of the Golden Gate Bridge (directly under the bridge on the San Francisco side, in fact). The staging by artistic director Ava Roy and John Hadden takes marvelous advantage of the location, with many scenes taking place in the fort's open courtyard but others happening in nooks and crannies along its many corridors, with glimpses of the characters conferring in their chambers as we walk past on our way to the next scene. One swashbuckling swordfight choreographed by Benjamin Stowe (our Macduff) makes dazzling use of the many staircases and balconies.

Although not visible from inside the old brick fort, the spot offers stunning views of the San Francisco skyline, Alcatraz and Marin, to say nothing of the bridge stretching overhead. There's a lot of walking involved, as well as climbing up and down dark staircases, but portable folding stools are available for people who don't want to stand or sit on the floor. The fort is open to the elements, so dress in layers.

Julia Rose Meeks' costumes mix some elements of Civil War-era uniform with barbarian scraps of fur. The martial theme is more appropriate to the setting than the play. War hero Macbeth receives a prophecy from three witches that he'll get a promotion and then become king, and on the prodding of his wife he secretly murders the king to gain the throne. Paranoid that someone will do the same to him, he starts having perceived rivals murdered until it's obvious to everyone that he's bad news.

The audience is split into two regiments led by two captains (Jennie Brick and Ruth Tringham), who occasionally take part in the play like a Greek chorus. Sometimes one faction will watch one scene while the other group watches another, which is particularly interesting when you're listening in on an intimate conversation while overhearing bloody murder outside.

As inventive as the staging is, this "Macbeth" doesn't always serve the play particularly well. Mackenszie Drae is a stiff and callow Macbeth, his oft-baffling emphasis and pauses conveying neither the emotion nor the sense of his speeches.

Director Roy is a confident Lady Macbeth, from her furious will to power to her sudden madness.

A four-piece band of drums and horns provides effective accompaniment in Charlie Gurke's score, from driving martial music to eerie atmosphere. That's accentuated by the sound of traffic over the bridge making an eerie clattering sound in the background, like distant echoing drumbeats. As a performance of "Macbeth" it's pretty rickety, but it's memorable as a theatrical experience in its own right.